Tom Meek is a writer living in Cambridge. His reviews, essays, short stories and articles have appeared in The Boston Phoenix, Paste Magazine, The Rumpus, Thieves Jargon, Charleston City Paper and SLAB literary journal. Tom is also a member of the Boston Society of Film Critics and rides his bike everywhere.
Hitting the campaign trail has not been vastly explored in film, but when it has, it’s been done with biting satire or a telling inward look at ourselves, our society and how we value democracy.
On Saturday, the Harvard Film Archive will show some newly collected works by the fondly remembered local filmmaker, Karen Aqua.
The MFA offers moviegoers of all kinds a year of films rich in cultural and thematic diversity.
“The Witch” dips into a beguiling cauldron that suggests its director has a talent that transcends the horror genre, says Tom Meek.
“I really wasn’t prepared for the stark scrumptious pop that overwhelmed me in nearly every frame,” film critic Tom Meek says when he finally saw Tarantino’s “The Hateful Eight” in its intended 70 mm format.
What’s ultimately served up is Tarantino channeling Tarantino with men of swagger waxing about the universe in pulpy poetic verse as tensions rise. It’s what you’d expect, but not quite on the same level as the auteur’s other seven films, says critic Tom Meek.
“I wanted to do a film on immigrants coming to the country now,” says Wiseman who impulsively decided on Jackson Heights after a friend took him around “and the cultural diversity just jumped out.”
This year’s Boston International Kids Film Festival will feature 86 films from 12 countries — mostly shorts. The programming is two fold: films for children and films by children.
While “Salò” has the baroque luridness of a snuff film, it is social commentary with a blade and a purpose, writes critic Tom Meek.
Working from Walter Isaacson’s biography, which Jobs had a hand in before his death, Danny Boyle and Aaron Sorkin created a film that feels as if Jobs planted the seeds to brand his legacy years ago.